Date: 30 March 2021 / 01 April 2021
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  • general
  • Call for Proposals
  • Programme
  • IMPORTANT NOTICE
  • Photo's & Documents
The AEC European Platform for Artistic Research in Music (EPARM) Conference 2020 that was supposed to take place at the Royal Academy of Music in London on 16th - 18th April 2020 has been postponed to 30th March to 1st April 2021. 

The EPARM preparatory Working group is in charge of organizing the AEC Annual EPARM meeting .  The Working Group is formed by active individuals in the relevant field of specialization within AEC member institutions. Proactivity, as well as geographical and gender balances are the applied criteria to guarantee the diverse and dynamic character of the group, who should ideally recreate the diversity of AEC members institutions.

Working Group Members:
Stephen Broad (Royal Conservatoire of Scotland, Glasgow) - Chairman
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen - Royal Conservatoire)
Henrik Frisk (Royal College of Music Stockholm)
Leonella Grasso Caprioli (Conservatorio "A. Pedrollo" di Vicenza)
Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre, Vilnius)
Matthias Hermann (Musikhochschule Stuttgart)
Wei-Ya Lin (University of Music and Performing Arts Vienna)

Call for Proposals

The European Platform for Artistic Research in Music (EPARM) is an initiative of the European Association of Conservatoires (AEC), acting as a resource for artistic research in the specific context of Higher Music Education: sharing knowledge, insights and outputs; promoting and developing the discourse around artistic research; incubating new ideas and developments; and offering support and inspiration to AEC members.  
 
The eighth EPARM conference welcomes music researchers, educators, performers and composers to a three-day exploration of artistic research in music at the Royal Academy of Music in London, UK. Presentations relating to any aspect of artistic research in music are welcomed.
 
EPARM recognises that there is no one way to pursue artistic research in music. Nonetheless, at the core of all such research is the artistic practice itself, which functions not only as an object of study, but as a source of significant questions and a means of pursuing original insights. It is an expectation that presentations at EPARM will include performance or the presentation of original work.
 
The Eighth EPARM conference is presented in collaboration with the AEC’s Strengthening Music in Society project, co-funded by Creative Europe to recognise and support the role of Higher Music Education Institutions to safeguard, develop and promote European cultural heritage and diversity, to facilitate access to cultural offerings and cultural education for all, and to contribute to economic growth through the creation of new jobs and new business models in the creative sector. 
 
To reflect the centrality of performance in artistic research, the EPARM conference will include a special evening programme of performance and discussion. Proposals are welcomed for short performances of a maximum of 30 minutes, which are themselves the outcomes of artistic research. Nine such performances will be selected for an evening programme called L8nite Performances, with performers contributing to a moderated audience discussion following immediately after the performances. Proposal for the L8nite Performances should follow the specific requirements below.
 
To support the development of excellent artistic research at the doctoral and post-doctoral levels, doctoral students and early career researchers may opt to participate in a facilitated session with a dedicated respondent offering feedback on the presentation and actively leading the discussion. Participants opting for these sessions will need to submit the text of their presentations, together with any relevant audio or video materials, by 13th January 2020.
 
For the submission please use the template provided in the Photo's and Documents section 
 

Proposals for main sessions

Proposals for a 20 minutes presentation (including any performance or examples) followed by 10 minutes facilitated audience discussion should address a clear question or questions that are rooted in practice.
 
Proposals should be sent in Word format and should include the following:
  • Name of the presenter/s
  • Institution
  • 150-word biography
  • Title that effectively summarises the presentation for a general audience
  • 350-word description of the presentation, including:
  1. A clearly articulated research question, issue or problem, relevant to artistic practice in music
  2. A clearly articulated and appropriately documented relationship between the artistic practice and the research
  3. Evidence of a critical approach to method

For doctoral students and early career researchers: an indication that you wish to participate in a facilitated session with respondent. Relevant additional audio or video materials are welcome where appropriate.


Proposals for L8nite Performances

Proposals for a 20 minutes performance followed by a 10 minutes facilitated audience discussion should clearly address the relationship between the proposed performance and the artistic research of which it is an outcome.
 
Proposals should be sent in Word format and should include the following:
Name of the performer/s
  • Institution
  • 150-word biography
  • Title that effectively summarises the performance for a general audience
  • A one-page note on the performance, which will be the basis of the peer-review process and written in a form suitable for distribution to the audience at the L8Nite Performances. In addition to introducing the performance, this note will:
  1. Clearly articulate the relationship between the performance and the artistic research of which it is an outcome
  2. Indicate the key questions with which the performance engagesAll proposals for performances should include a relevant recording (audio or video) of the proposed performer/s.

 
For the submission please use the template provided in the Documents section 

 

Peer Review

A peer review panel composed of the EPARM working group members will select those submissions that will be featured in the EPARM conference. The panel will seek additional expert input when necessary.
 

Timetable

The timetable for this process is as follows:
  • 24th October:          Circulation of call
  • 13th January:          Deadline for submissions
  • 29th January:          Results communicated to the applicants (who are required to confirm)
  • 5th February:          Publication of the final programme of EPARM 2020 and Registration launch
  • 16th April:               Start of EPARM 2020
 
Proposals must be submitted in Word format using the provided template and should be sent to AEC Events and Project Manager Sara Primiterra at the following email address: events@aec-music.eu.
 
Any submissions that do not follow the guidelines above will not be considered.

European Platform for Artistic Research in Music 

EPARM Conference

Royal Academy of Music, London

 

PLEASE NOTE THAT THE EVENT HAS BEEN POSTPONED TO 2021 DUE TO THE CORONAVIRUS EMERGENCY

 

PRE - CONFERENCE WORKSHOPS

 

Wednesday

15:30 - 19:00 Pre-Conference Seminar I on Funding Opportunities for Artistic Research 

Thursday

9:30 - 13:00  Pre-Conference Seminar I on Funding Opportunities for Artistic Research

13:00 - 15:30  Pre-Conference Seminar II on Introduction and Methods of Artistic Research



CONFERENCE PROGRAMME

 

 

Thursday

 

13:30  Registration opens 

Informal networking - Coffee available 

14:30 - 15:30 Guided Tour of the Academy 


15:45 - 16:30 Opening Event - Dukes Hall

Music introduction

Official Welcome by:
  •      Jonathan Freeman-Attwood, Principal of the Royal Academy of Music, London
  •      Stefan Gies, CEO of the AEC
  •      Stephen Broad, EPARM Chair
 

16:30 – 17:30 Plenary Session I – Keynote Speech by Timothy Jones, Royal Academy of Music, London

Moderated by David Gorton, Royal Academy of Music, London
 

17:30 –17:50 Networking with Refreshment

 

18:00 – 19:00 Concert

 

19:00 - 20:00 Reception



20:30 – 21:00 L8 NITE Performances 

L8 NITE Performances I A - Concert Room

Ghost Trance Solo’s: a solo interpretation of Anthony Braxton’s Ghost Trance Music, Kobe Van Cauwenberghe, Royal Conservatoire, Antwerp, Belgium

L8 NITE Performance I B - David Josefowitz Recital Halls

Fantasía quasi Sonata: an “in-version” of Beethoven’s Op. 27 No. 2, Luca Chiantore, ESMUC - Escola Superior de Música de Catalunya), Barcelona, Spain

L8 NITE Performances I C - Angela Burgess Recital Hall

LEMUR: Collective Artistic Research within an Ensemble, Francis Michael Duch, NTNU – Norwegian University of Science and Technology, Trondheim, Norway
 

20:30 - 20:45 Break to allow room change



20:45 - 21:15 L8 NITE Performances II 

L8 NITE Performances II A - Concert Room

Ensemble 1604 presents ...shadows that in darkness dwell…, Timothy Cooper, Royal Conservatoire of Scotland, Glasgow, UK
 

L8 NITE Performances II B - David Josefowitz Recital Hall

Love at first sound: engaging with Western classical concert audiences through improvisation, Pauliina Haustein, Guildhall School of Music & Drama, London, UK
 

L8 NITE Performances II C - Angela Burgess Recital Hall

Bach-Mugham, Gunel Mirzayeva, Guildhall School of Music & Drama, London, UK
 

21:15 - 21:30 Break to allow room change

 


21:30 - 22:00 L8 NITE Performances III 

L8 NITE Performances III A - Concert Room

“Droning Falsities (for one’s self)”, a collaborative exploration into the use of voice and contrabass clarinet, Jason Alder, Royal Northern College of Music, Manchester, UK
 

L8 NITE Performances III B - David Josefowitz Recital Hall

Politicising the Piano, Adam Swayne, Royal Northern College of Music, Manchester, UK


L8 NITE Performances III C - Angela Burgess Recital Hall

Sonic Complexion, Jacob Anderskov , Rhythmic Music Conservatory, Copenhagen, Denmark


 

Friday 

 

09:30 - 10:00 Informal Networking with Refreshments

 

10:00 - 10:30 Parallel Sessions I 

Parallel Sessions I A - SMS (strand 1)

From sign to sound: survey on instrumental musical reading, Alberto Odone, Conservatory Giuseppe Verdi, Milano, Italy, Anna Maria Bordin, Conservatory Niccolò Paganini, Genova, Italy

Parallel Sessions I B

Collective creation in Music and Linked verse composition, Carla Rebora, Conservatory “A. Boito”, Parma, Italy with Marco Pedrazzi and Rosita Piritore
 

Parallel Sessions I C

Influence of Stimulus Induced Imagery on the Process of Improvising Freely, Jaak Sikk, Estonian Academy of Music and Theater, Tallinn, Estonia
 

10:40 - 11:10 Parallel Sessions II 

Parallel Sessions II A – SMS (strand 5)

Performing Precarity (PP), Ellen Ugelvik, Norwegian Academy of Music, Oslo, Norway
 

Parallel Sessions II B

Exploring nineteenth-century tuba-composer relationships, Jack Adler-McKean, Royal Northern College of Music, Manchester, UK

Parallel Sessions II C

Gendering the [piano] performing body, Helena Marinho, University of Aveiro, Aveiro, Portugal

 

11:20 - 11:50 Parallel Sessions III 

Parallel Sessions III A

The Pianist as a Duo Partner: Understanding the role of the pianist in the rehearsal process when working with singers and instrumentalists, Christine Zefara, Royal Academy of Music, London, UK
 

Parallel Sessions III B

FOLK SONG LAB – deconstruction, improvisation and flow, Susanne Rosenberg, Royal College of Music, Stockholm, Sweden
 

Parallel Sessions III C

Owning the Choral Sound: Utilising Real Time Spectrographic Data to Improve Choral Blend, James Lee Slimings, Royal Conservatoire of Scotland, Glasgow, UK
 

11:50 - 12:30 Coffee break 


12:30 - 13:00 Parallel Session IV 

Parallel Session IV A – SMS (strand 5)

Artful Participation - Doing Artistic Research with Symphonic Music Audiences, Peter Peters, Maastricht University/MCICM, Maastricht, The Netherlands

Parallel Sessions IV B

Lacunae Ciconiae: re-sounding Ciconia's missing voices, Niels Berentsen and Gaëlle Fourré, Haute École de Musique, Geneva, Switzerland

Parallel Sessions IV C

First steps into Creative (mis)understandings, Wei-Ya Lin and Johannes Kretz, University of Music and Performing Arts Vienna, Vienna, Austria
 

13:00 - 14:15 Lunch

 

14:30 - 15:30 Round Table on the Role of Artistic Research in Society

Moderated by Eirik Birkeland, AEC President, with:


Neil Heyde, Head of  of Postgraduate Programmes, Royal Academy of Music, London
Oya Atalay Franck, European Association for Architectural Education - EAAE, President
Johan Haarberg - SAR Executive Director, former ELIA President TBC
Stephen Broad, EPARM chairman
Andrea Braidt, ELIA President  TBC

15:30 - 16:00 AEC – Strengthening Music in Society

By  WG 1 on Music in Society

 

16:00 - 16:30 Coffee Break

 

16:30 - 18:00 Open Space – discussion groups on topics proposed by participants

Introduction by Stephen Broad, EPARM chairman
 

18:15 - 19:15 Music Performance

 

19:15 - 22:00 Dinner 

 

 

 

Saturday

 

09:00 - 09:30 Informal Networking with Refreshments

 

09:30 – 10:00 Parallel Sessions V 

Parallel Sessions V A (SMS strand 6)

Dimensions of experiencing empathy in a music ensemble using the example of a digital and interactive education project, Evelyn Buyken, Cologne, Germany
 

Parallel Session V B

“Method of Vienna” (“MoV”): a novel performative communication format, Susanne Abed-Navandi, Music and Arts University of the City of Vienna, Vienna, Austria
 

Parallel Session V C

Stylistic Feature Mapping for Music Performance, Sven Ahlbeck, Royal College of Music, Stockholm, Sweden
 

10:10 - 11:00 Information Forum - short presentations by participants on artistic research initiatives

 

11:15 - 11:45 Parallel Session VI 

Parallel Session VI A

The Topic of Piano Performance, Julian Hellaby, Coventry University, Coventry, UK
 

Parallel Session VI B

‘We can do it too!’ Small-group improvisation in classical music, Lindsey Fillingham, Guildhall School of Music and Drama, London, UK
 

Parallel Session VI C

Incorporating an historically inspired modernistic approach to Brahms’ orchestral music into the curriculum of the Conservatory of Amsterdam, Johannes Leertouwer, Conservatory of Amsterdam, Amsterdam, The Netherlands
 

12:00 - 12:30 Parallel Session VII 

Parallel Session VII A

Recomposition: a practical approach, Gabriele Ceccarelli,Saint Louis College of Music, Rome, Italy
 

Parallel Sessions VII B

Rethinking the Gesamtkunstwerk: creating new dramaturgical codes, Lies Colman, Gaea Schoeters, Annelies Van Parys, Royal Conservatoire Antwerp, Belgium
 

Parallel Sessions VII C

A revision of Sigfrid Karg-Elert’s Op. 153 for saxophone solo; “The saxophone’s Cello Suites”, and a conversation with the composer, Raaf Hekkema, Royal Conservatoire, The Hague,The Netherlands

 

12:40 - 13:00 Closing Session

  • News from the AEC by Stefan Gies

  • Announcement of EPARM 2021

  • Closing remarks by Stephen Broad, EPARM Chairman

 

Because of the Coronavirus pandemic emergency, the EPARM in London has been postponed to 2021.

Participants who already paid the participation fee will be reimbursed by filling in the refund form in the Documents section and sending it to events@aec-music.eu

PARTNERS